Guest
Chicago Symphony Orchestra conducted by Daniel Barenboim. I - Bewegt, nicht zu schnell: 0:00 II - Andante quasi allegretto - Langsamer: 18:03 III - Scherzo. Bewegt - Etwas langsamer - Etwas ruhiger - Tempo I - Trio. Nicht zu schnell. Keinesfalls schleppend - Scherzo da capo: 33:44 IV - Finale. Bewegt, doch nicht zu schnell - Langsamer - Noch langsamer - Langsam - Tempo wie anfangs - Im tempo nachgebend - Langsamer (wie bei der gesangsperiode im 1. Teile) - Langsamer - Tempo Imo (Hauptthema anfangs) - Lansamer - Im früheren zeitmaß - Etwas bewegter - Tempo I: 43:16 Bruckner's Symphony No.4 was composed between January 2 and November 22 of 1874. In the following year, the composer attempted to have it performed without success, but in 1876 conductor Benjamin Bilse accepted performing the work, but then Bruckner changed his mind and decided to thoroughly revise the work. In 1878, the scherzo was completely replaced with a new one, while the rest of the movements were substantially revised. Between 1879-80, Bruckner also replaced the finale with a new one, forming the second version. It was then premiered in Vienna on February 20 of 1881, performed by the Vienna Philharmonic Orchestra conducted by Hans Ritcher. It was very well-received, contrasting with the absolute disaster that was the premiere of the third symphony. In the following year, Bruckner made some small revisions as well as cuts, and the symphony was then performed on December 10 of 1881, conducted by Felix Mottl in Karlsruhe and with a much poorer reception. It was again revised between 1886-8, after multiple publication rejections. The work was severely cut and reorchestrated in this version, which was instigated by his pupils Ferdinand Löwe and the Schalk brothers. It was finally published in 1888, but Bruckner would eventually point the 1878-80 as the definitive version of the work. Ever since the premiere, the symphony has been one of the most popular of Bruckner's. The subtitle was coined by the composer himself, who referred to an idealized vision of the Medieval Era, with its chivalric heroism, profound religiosity and communion with nature. Bruckner conceived the piece in programmatic terms, as detailed in letters to close friends. The first movement represents the awakening of a medieval town by the horn, the beauty of nature, the singing of the birds and the knights riding their horses. The second movement is contemplative in nature, ambiguously described by Bruckner as “song, prayer, serenade“. The scherzo represents a hunt with the trio portraying a pause in the forest for lunch. The fourth movement originally was intended to represent a popular festival, but the spirit was lost with new finale, which is the only one without programmatic elements, leaving its meaning purely to the listener's imagination. The first movement is structured in a large-scale, modified sonata form. It begins with mysterious string tremolos, followed by the introduction of a solemn and expansive main theme by the horn, employing the famous Bruckner rhythm. After a massive climax of great brilliance, enhanced by the brass, a delicate and dance-like second theme is introduced by strings. Then an imperious and agitated third theme suddenly appears, derived from the main one. The development sombrely opens after massive brass chords, being dominated by the main theme. After a passionate series of climax, a solemn and expansive brass chorale appears, derived from the opening horn call. The second theme then serves as a transition to a varied recapitulation of the material. The brass chorale then returns, leading us to a brilliant coda based on the main theme. The second movement is written in an expanded ternary form. It opens with a lyrical main theme presented by cellos, unfolding in the rhythm of a dignified march. A second theme in form of a solemn and expansive chorale is then introduced. As we can see, these materials aptly fit Bruckner's own description of the movement. The main theme is then recapitulated by cellos over string pizzicati, followed by the second as it builds towards a powerful climax with both in counterpoint. The main theme is recapitulated once more by cellos. A new contrapuntal combination with the second theme leads us to a broad and brilliant climax, with the main one sticking out in the brass. A somewhat dubitative and sombre coda ends the movement with the march rhythm on the timpani. [Musical analysis continued in the comments section]. Picture: “Medieval City on a River“ (1815) by the Prussian artist Karl Friedrich Schinkel. Musical analysis partially written by myself. Sources: and To check the score:
